Robert Adlington holds the Queen’s Anniversary Prize Chair in Contemporary Music at the University of Huddersfield. He is author of books on Harrison Birtwistle, Louis Andriessen, and avant-garde music in 1960s Amsterdam, and editor of volumes on avant-garde music in the 1960s, and music and communism outside the communist bloc. He has written articles and chapters on Nono, Berio, musical modernism, new music theatre, and musical temporality.

• Introduction ROBERT ADLINGTON PART I: Between the avant-gardes: new music theatre and new conceptions of drama 1. The definition of a new performance code between ‘avant-garde’ and ‘new’ theatre STEFANIA BRUNO 2. Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes JULIA H. SCHRÖDER 3. Theatre as problem: modern drama and its influence in Ligeti, Pousseur and Berio VINCENZINA C. OTTOMANO PART II: Expansions of technology 4. Audio-visual collisions: moving image technology and the Laterna Magika aesthetic in new music theatre HOLLY ROGERS 5. Composing new media: magnetic tape technology in new music theatre, c. 1950–1970 ANDREAS MÜNZMAY PART III: The critique of established power 6. Guerrilla in the Polder: Music-Theatrical Protests in the Low Countries, 1968-1969 HARM LANGENKAMP 7. René Leibowitz’s Todos caerán: grand opéra as (critique of) new music theatreESTEBAN BUCH PART IV: New venues and environments 8. A survey of new music theatre in Rome, 1961-1973: ‘anni favolosi’? ALESSANDRO MASTROPIETRO 9. Avant-garde music theatre: the Festival d’Avignon between 1967 and 1969 JEAN-FRANÇOIS TRUBERT PART V: Reconceiving the performer 10. Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians DAVID BEARD 11. Embodied commitments: solo performance and the making of new music theatre FRANCESCA PLACANICA PART VI: Analyzing new music theatre 12. New music theatre and theories of embodied cognition BJÖRN HEILE 13. Analyzing new music theatre: theme and variations (in a multimedial perspective) ANGELA IDA DE BENEDICTIS

This excellent collection of insightful, rich, and sometimes genuinely provocative readings of a kaleidoscope of music theatrical practices from a diverse, but uniformly first-rate panel of scholars, consistently delivers fresh insights into not only what the music theatre of the post-war era meant then, but also how it might still speak today. - Martin Iddon, University of Leeds, UKWith a strong array of contributors, this collection reveals how conceptions of music theatre from the long 1960s challenged established conventions of music. The volume combines historical depth with insights on how trends in music theatre resonate with the current interest in music as a multi-media experience. - Alastair Williams, Keele University, UK

Robert Adlington holds the Queen’s Anniversary Prize Chair in Contemporary Music at the University of Huddersfield. He is author of books on Harrison Birtwistle, Louis Andriessen, and avant-garde music in 1960s Amsterdam, and editor of volumes on avant-garde music in the 1960s, and music and communism outside the communist bloc. He has written articles and chapters on Nono, Berio, musical modernism, new music theatre, and musical temporality.

• Introduction ROBERT ADLINGTON PART I: Between the avant-gardes: new music theatre and new conceptions of drama 1. The definition of a new performance code between ‘avant-garde’ and ‘new’ theatre STEFANIA BRUNO 2. Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes JULIA H. SCHRÖDER 3. Theatre as problem: modern drama and its influence in Ligeti, Pousseur and Berio VINCENZINA C. OTTOMANO PART II: Expansions of technology 4. Audio-visual collisions: moving image technology and the Laterna Magika aesthetic in new music theatre HOLLY ROGERS 5. Composing new media: magnetic tape technology in new music theatre, c. 1950–1970 ANDREAS MÜNZMAY PART III: The critique of established power 6. Guerrilla in the Polder: Music-Theatrical Protests in the Low Countries, 1968-1969 HARM LANGENKAMP 7. René Leibowitz’s Todos caerán: grand opéra as (critique of) new music theatreESTEBAN BUCH PART IV: New venues and environments 8. A survey of new music theatre in Rome, 1961-1973: ‘anni favolosi’? ALESSANDRO MASTROPIETRO 9. Avant-garde music theatre: the Festival d’Avignon between 1967 and 1969 JEAN-FRANÇOIS TRUBERT PART V: Reconceiving the performer 10. Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians DAVID BEARD 11. Embodied commitments: solo performance and the making of new music theatre FRANCESCA PLACANICA PART VI: Analyzing new music theatre 12. New music theatre and theories of embodied cognition BJÖRN HEILE 13. Analyzing new music theatre: theme and variations (in a multimedial perspective) ANGELA IDA DE BENEDICTIS

This excellent collection of insightful, rich, and sometimes genuinely provocative readings of a kaleidoscope of music theatrical practices from a diverse, but uniformly first-rate panel of scholars, consistently delivers fresh insights into not only what the music theatre of the post-war era meant then, but also how it might still speak today. - Martin Iddon, University of Leeds, UKWith a strong array of contributors, this collection reveals how conceptions of music theatre from the long 1960s challenged established conventions of music. The volume combines historical depth with insights on how trends in music theatre resonate with the current interest in music as a multi-media experience. - Alastair Williams, Keele University, UK

Robert Adlington holds the Queen’s Anniversary Prize Chair in Contemporary Music at the University of Huddersfield. He is author of books on Harrison Birtwistle, Louis Andriessen, and avant-garde music in 1960s Amsterdam, and editor of volumes on avant-garde music in the 1960s, and music and communism outside the communist bloc. He has written articles and chapters on Nono, Berio, musical modernism, new music theatre, and musical temporality.

• Introduction ROBERT ADLINGTON PART I: Between the avant-gardes: new music theatre and new conceptions of drama 1. The definition of a new performance code between ‘avant-garde’ and ‘new’ theatre STEFANIA BRUNO 2. Total theatre and music theatre: tracing influences from pre- to post-war avant-gardes JULIA H. SCHRÖDER 3. Theatre as problem: modern drama and its influence in Ligeti, Pousseur and Berio VINCENZINA C. OTTOMANO PART II: Expansions of technology 4. Audio-visual collisions: moving image technology and the Laterna Magika aesthetic in new music theatre HOLLY ROGERS 5. Composing new media: magnetic tape technology in new music theatre, c. 1950–1970 ANDREAS MÜNZMAY PART III: The critique of established power 6. Guerrilla in the Polder: Music-Theatrical Protests in the Low Countries, 1968-1969 HARM LANGENKAMP 7. René Leibowitz’s Todos caerán: grand opéra as (critique of) new music theatreESTEBAN BUCH PART IV: New venues and environments 8. A survey of new music theatre in Rome, 1961-1973: ‘anni favolosi’? ALESSANDRO MASTROPIETRO 9. Avant-garde music theatre: the Festival d’Avignon between 1967 and 1969 JEAN-FRANÇOIS TRUBERT PART V: Reconceiving the performer 10. Reconceptualising the performer in new music theatre: collaborations with actors, mimes and musicians DAVID BEARD 11. Embodied commitments: solo performance and the making of new music theatre FRANCESCA PLACANICA PART VI: Analyzing new music theatre 12. New music theatre and theories of embodied cognition BJÖRN HEILE 13. Analyzing new music theatre: theme and variations (in a multimedial perspective) ANGELA IDA DE BENEDICTIS

This excellent collection of insightful, rich, and sometimes genuinely provocative readings of a kaleidoscope of music theatrical practices from a diverse, but uniformly first-rate panel of scholars, consistently delivers fresh insights into not only what the music theatre of the post-war era meant then, but also how it might still speak today. - Martin Iddon, University of Leeds, UKWith a strong array of contributors, this collection reveals how conceptions of music theatre from the long 1960s challenged established conventions of music. The volume combines historical depth with insights on how trends in music theatre resonate with the current interest in music as a multi-media experience. - Alastair Williams, Keele University, UK